Sound installation on the old railway bridge in Trencin

The sound installation Takt, set in the environment of the old railway bridge in Trenčín, is a new work of art by the TRAKT civic association. The interactive work was created together with other invited colleagues from the cultural and technological field. The work was created with the help of the ECC Trenčín 2026 team, which worked intensively on the candidacy of the city of Trenčín in this prestigious cultural event (European Capital of Culture). The sound installation was first launched to the public in a test phase at the turn of November and December 2021.

The author of the music is the young performer Toello, coming from Trenčianske Teplice, who layered 16 unique original tracks. These are triggered interactively by embedded sensors and thus react to people coming and going directly on the bridge. If one person enters the bridge the first musical layer is triggered, the next person crossing triggers the next, and so on. When the passer-by leaves the bridge, the track turns off again. If there are, for example, 10 people on the bridge at the same time, in the sensed environment directly above the river Váh, 10 sound tracks will play in parallel, which together will form a single musical unit. The maximum is 16 music tracks. At that point, passers-by will be able to hear the full track. If there is no one on the bridge, it will remain silent. Takt is available every day from 7:00 am to 4:00 pm.

The work responds to collaboration, togetherness and connectedness in a local context. For example, in the quest to become ECoC 2026, but also in the unification of the cultural and artistic community. However, it also responds to global contexts such as the polarisation of society in different areas. The sound installation presents in a rather illustrative way the idea of “unity is strength”, where only by being present with each other can people play a musical piece in its full scope. Although the individual plays an essential role, he or she cannot create the whole on his or her own.

Photos by Juraj Majersky and Lukas Matejka.

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Augmented reality on a smartphone or tablet will reveal to children and visitors to the exhibition about MR Štefánik areas and topics such as astronomy, aviation, politics – rhetoric, communication, military science – World War I, its course, Stefanik’s participation in it, travel – getting to know countries etc.

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The election will complicate an archaeological finding challenging the official state ideology that the country’s oldest nation lives on Earth. In addition, a new airport is to be built at the site, which will finally make it accessible to the hard-to-reach mountain countryside by tourists. The monument, which is also a defender of the history of the nation, seeks to challenge the finding. In addition, a special disease that spreads through insomnia will begin to spread. This means that people have more time to work, they are more active, but at the same time begin to forget, first of all on their experiences and then on the names of things and people. The monument comes with the theory that it is a curse that has invested the goat on the landscape (“a non-religious animal that looks like a devil”) “tethered to the stone” located in the middle of Europe and demanding its sacrifice.

“Was that what? Was it like a dream? / Nightmare! / Prd, it was a comedy. / Catholic joke. “

Peter Lomnický: PamiatKAR (play with songs about the illusions of a nightmare or a Catholic joke)

14: 6.2018 at 11:30 am – public general

15.6.2018 at 19:00 – premiere

19.6.2018 at 19:00

20.6.2018 at 11:30 – organized

From the public sources, he supported the Arts Support Fund.

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Camouflage is an immersive art project, an experimental mixed reality game for multiple players which playfully explores disparity of perception within the real and the digital space. The project is inspired by an old game known to many ancient cultures where a blindfolded player is trying to find its opponents. When successful, the roles switch.

In Camouflage, two audience members are blindfolded by the VR headsets through which they can only see an abstract representation of their surroundings, and simulated bodies in motion. The goal of the players inside the virtual reality experience is to identify which of the abstracts objects actually belong to a real person.

Outside the VR experience, there are four other people who have sensors attached to their bodies and move in the given space, trying to stay out of sight as long as possible: camouflage. The goal of the players outside of the virtual world is to stay unnoticed for as long as possible. To do this, they need to mimic the movement quality of the animation and blend with the environment. To make the experience even more engaging, we will create complex, automated rules, scoring system, as well as a system of handicaps that will change over the course of the game.

It is particularly interesting to observe the players and the emergence of tactics and strategies. The success of the player is influenced by his or her knowledge of the opponent, ability to empathize, predict actions and estimate skills in order to provoke reactions. Ultimately, Camouflage is a playful interactive installation for the wider public, a multi-user experience looking at how the VR experience can impact our senses and make us connect with our instincts. How do we assume the roles of the predator or the prey?

Andrej Boleslavský – digital artist

Mária Júdová – digital artist

Patricia Okenwa – choreographer

Han Han – musician

Renaud Wiser – creative producer

Presentation 1.6.2018 in The Platform Theatre, London (UK).    

International presentation is supported using public funding by Slovak Arts Council. In collaboration with TRAKT.

Project website http://camouflage.org.uk/

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TRAKT, composed of Mgr. art. Lukáš Matejka, ArtD. and Pavol Soukal prepared for the conference participants an interactive installation of Folklore graffiti with a reference to Slovak folk symbolism using the new media art.

Creativity for innovation

Science, technology and art are becoming a very promising area for creating new unexpected innovations or for achieving the success of the innovation process. They offer different approaches to inspiring inspiration or managing innovation. Free “creative” art that is motivated not by commercialization but by internal stimuli to provide unmistakable studies or emotional touching faces. Often these technologies create or inspire unexpected solutions to industrial or everyday problems. On the other hand, commercial approaches consist of very different areas, Sound and visual performances – performances for more intense experiences of customers, viewers, visitors in business areas (museums, shopping centers, etc.). They are used in a variety of industries such as retail, health, culture, Applied creative art helps build confidence or a positive mood in innovation through a new design, inspiring atmosphere, or unexpected end-user experience that can be a decisive factor in successful innovation in the regions and between people. E.g. Social business gamatization as one of the new sectors with a variety of game mechanics creates new types of user experience that drive real engagement. It is the art of social science that facilitates the desired behavior of all stakeholders or end-users that can be used in various commercial processes. The synergy of this sector with different areas of research and technological development can bring significant societal impact to projects or initiatives in the field of research and innovation. That is why WIRE2017 wants to build on creativity and inspiration, and to support the potential of science, technology and arts and creative industries to achieve genius loci, enhance synergy between artists, creative people and technologies, stimulate inspiration and enhance value, and embrace digital innovation, build trust and positive sentiments Communities of end users and promoting Slovak creatives with inspirational installations based on Slovak tradition – White Night events.

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All of this would not be possible without the support from International Visegrad Fund. Great people. Cooperation fruitful. THANK YOU VERY MUCH!

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Choreographer and director: Radoslav Piovarči
Dramaturgy: Peter Maťo
Producer: Eva Ohraďanová
Graphic design: Miriam Trnková
Visual media: Matúš Astrab, Lucia Devečková, Filip Kmeť, Lukáš Matejka, Gregor Nadzam, Pavol Soukal, Veronika Šmírová
Fashion design: Veronika Ďurišová
Performers: L. Drenková, K. Fulková, D. M. Gábová, K. Kollárová, M. Mojtová, S. Orfánusová, V. Tekeľová, M. Keiko Lehotský, F. Martinský

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